Transcript: It's Getting Harder to Tell What's Real

Why has AI LIVE moved to Tuesdays?

0:12 Oo, did you see that little intro? And it's a new intro. I uh when I hit the live stream there, it said hit live and play intro clip, which I was like, oh, that's a nice little thing. Wow. Welcome back. No, we're not just through YouTube this week, Martin. Hopefully you're seeing us through LinkedIn as well. Um, sorry about last week guys for the stream on LinkedIn. Apparently it didn't go through. I'd made a page for it, but apparently the bridge hadn't been connected up. How you doing, mate? Anyway, I am good on a Tuesday. We're here on a Tuesday. Yeah, it feels weird. It feels like the coming up to the end of the week, but it's not. It's like a It's like a false sense of uh hope where before it was like, "Yes, I knew this. We did it Thursday and then we had one more day left of the week. Now it's like we got three more days left.

1:02 Yeah, I appreciate you guys for tuning in earlier in the week. For those of you that have made it live here on Tuesday, we do want to hear from the San Francisco lot. Is this a lot more difficult of a slot for you to achieve or you know what exactly is the best sort of way to bring the show to you? We're hoping that Tuesday moving forward is a better day that we can do it on actually because then we can have a producer in the background. Hey, we got Anita tuning in through YouTube. How's it going? And hello. Yes, LinkedIn works today. Thanks for letting us know. Really appreciate that. Yeah, LinkedIn is working. I'm just trying to log into LinkedIn here as well and do it that way. Finally, we're live through two channels again, guys. Sorry about last week. No sound or is it just me?

1:48 I hope we do have sound. Let us know if you can hear us. Good to see you both. Thank you very much, Anita. Anita, your phone, your phone, you're coming you're logging in from New Jersey. Is that correct? Where's everyone coming from? Where is everyone logging in from? Oh, apparently it starts unmuted. Um, yeah, starts muted. Just unmute it from the bottom. Ah, got sound now. Great. Thanks for letting us know, Paul. Tuesday's good for Rob. That's good to know. Yeah, for anyone that's tuning in for the first time, uh, basically we are on a different day than we usually are on a Thursday afternoon for us in the UK, but it's often in the morning for our USA viewers.

2:37 And we're just trying now to um, have it be that we can do it on a Tuesday and it makes sense for all of us. So, yeah. Great. Hey, what's going on, Luca? Hey, Luka. Sorry if you're seeing the screen uh move very rapidly. We've got a producer actually adding bit of videos to the backdrop and it's uh taking over the screen temporarily, but yeah, kind of funny. We've got a lot of news to talk about this week anyway, mate. And uh I want to know firstly what you're aware of and if you're not aware of it, what your reaction is. The biggest one, remember that producer AI tool that I absolutely loved and then I told you suddenly their terms and conditions meant that you've got 24 hours to save your work and we wondered, is this a lawsuit?

Google buys Producer AI

3:24 Is this what is this? Turns out Google bought them. Yeah. Well, not surprising. I had a feeling that acquisitions were going to happen in the music space. Uh, and producer used to be Refusion, wasn't it? It was Refusion. Exactly. Refusion turned producer AI and then producer AI was kind of like its agentic LLM music generator. So, uh, Refusion was much more like Udo where it was just a normal, you know, like dashboard that you'd add things to, do things to, and producer AI looked much more like chatbt in it was a conversation window and it was no longer the tool it once was, but it had all of that that it was talking to. You were just talking to the LLM, which was talking to the tool in the background. So yeah, they were doing some amazing things and were well ahead of the game.

4:09 As you say, not that surprising that Google thought to acquire them because probably as a small team, they were doing the most exciting things. Yeah, that was a really good platform. Um I I remember you were showing me you went for a stage where you was just using it predominantly to do instrumentals. Um I actually thought that from an instrumental point of view that was the best tool. Uh I feel better than Suno, better than Udo purely to do instrumentals. So having Google on board, we'll see what happens. You know, sometimes having a big company on board can be a great thing. Sometimes they go and ruin it having a big company. So yeah, let's see what happens here. Hey, I so thankful that you're tuning in at this new time. Thank you so much. Yes, West Coast still getting you tuning in at this time.

4:54 You are legends of this podcast, you guys. I said, what time is it? 7. Yeah, it's got to be dead early in the morning. But you know the yeah just the dieards thank you so much for tuning in even whatever time it is for you locally. We really appreciate it. Yeah that was the big news I wanted to know about if you known about the Google acquisition. It's um it's all news from Google. You know Google's introduced also new additions to Google Flow which is their video platform which Dave helped create actually. You know, he did he did a launch video about how his team had helped, you know, launch some of the features in Google Flow. Looks like they're now massively expanding that uh to quite a lot more stuff. Add more seamless workflows, a simpler way to create videos al together apparently,

Google Flow expands and Nano Banana 2 lands

5:43 and more natural language prompting and editing and being a fully integrated sort of suite of stuff. So, they have Whisk and other things that we haven't been able to get here in the UK yet because they've been USA only, but Google Whisk is kind of like its own Nano Banana, which is kind of interesting because they obviously released Nano Banana and Nano Banana 2, which is the other big news. Um, everyone's been talking about Nano Banana 2. It's been kind of insane, actually. Yeah, I remember um going back to FL. I wonder if it's still geoblocked cuz um every time I've gone to use it, it said you can't use it in this region. So I wonder if that's exactly the same thing that I was seeing too. Yeah. So not quite sure. Um yeah, we got Nano Banana here which has been loaded in.

6:29 Uh these are some of the examples of Nano Banana 2. Uh I think what we're going to start doing for the best show is to launch the clip with audio and then have us play it with mute and then react to the clip, re-watching it again, mate. Just so you know. Um but in this case, we'll just watch it muted. But yeah, you can see like some of the differences that Nano Banana 2 has added here are quite interesting. It could do a lot more text and stuff like this, infographics and a lot more highly detailed things. Yeah. Um be interesting to have a proper play with it. I've I've played with it, but not like since it's come out, I've not really had a chance to really sit down and try all different things. So looking forward to trying that one. I have to admit though,

7:17 I was starting to prefer chat GPT images than Nano Banana. I really Yeah, I I found that I was getting better results off of Chat GPT. Now, ChatGpt's had a very interesting week. Um, so that's that's another one. Yeah. Yeah. But um whether I continue using it, I don't know. Uh but it's uh yeah, I actually preferred it for images than Nano Banana. But now, let's see what happens with Nano Banana, too. Well, isn't it funny because remember that conversation we had very early in the podcast where we said when they all start catching up to one another, we'll have our preferences and it won't be about like, you know, one's better than the other. They'll all be capable of roughly similar things and it'll just be where's it bolted on. Now, for us, we realized that we can get free 2K images on Freepick.

When every model is good enough, where do you use it?

8:08 So it makes total sense to use Nano Banana Freepic for that type of workflow and it doesn't even make sense for us to use Gemini to use Nano Banana as the interface now. So again, you you come to these conclusions after a long time like a which is the tool that I like using best and b where's the place to go and use it the most efficiently and effectively cost effectively you know. Yeah, I think that's going to be I think yeah the the more we start using these AI tools I can see that as you said I can see that being the case. They're all going to be they're all going to be as good as each other for what we would need. So then it's a case of preference. Um, and that preference could be based off of user journey, user experience. It could be based off of ethical reasons, what you believe in the the the the

8:57 company, you know, the reality, commercial output viability. I think that's going to be the biggest one, you know, which one gives you the rights of ownership and distribution and all of that. Yeah. So, it's going to be interesting space. It's going to be very interesting space. Yeah. It's fascinating, isn't it? because now everyone's getting their own sort of personal places. I think we're all moving away from the million different AI subscriptions and different interfaces to learn. We've all started to realize that these workspaces exist. One of those workspaces um in our industry of advertising has been Figma. You know, Figma is like a giant open canvas and they've acquired people like and others. Canva have gone and acquired their tools and every everyone's basically acquiring on mass producer AI being one of them just an LLM for

Figma, Codex and designing with code

9:49 music in Google's case but yeah this one this video here showcases I think Figma's stuff we'll let this one play shall we oh not sure what's happened to it there let me add it back to the stage and see if it can No, that that video's potentially got some issues with it. Not sure why that's not loading. Maybe Paul can load that one up in the background. But they had a basic um like video that they had launched about like all of the things Figma will be soon able to do. Now Figma is a platform I never used. I know that you you guys used it quite a bit. Yeah, very big. It was very big in our industry and the fastest growing too.

10:35 You know, there's another conversation about software because software as a general is down at the moment because of the sort of like I guess perceived worry of whether or not subscriptions to software will be a big thing in the future with AI agents and all of this. Hard to know really. We've got people tuning in from the Netherlands. Let's go Martin. Hi Martin. We're not ignoring you guys. Hey, Tracy. No way. From sunny Scotland. Thank you so much for tuning in. Tracy is one of my favorite former clients, Andrew. Oh, nice. Where in Scotland? Where in sunny Scotland are you? Oh, love it. Love it. Love to see Tracy tuning in. Thank you so much. We got Gideon from Acra

11:20 is here in the place as well. Oh, yes. This was another piece of information that I hadn't actually got for the news this week. Thank you, Martin. Grock did indeed extend its image feature and has been really good fun and I've seen a lot of people talking about this. So, um you know extended scenes, we've seen a few examples of this where it's a lot longer than 10 seconds and uh it's basically got that which is a very useful feature to be able to extend scenes longer and longer and for the continuity to make sense. Yeah, I think Grock because of obviously its leader, it gets a bit of a bad rap, but and also some of the other things it was doing a few weeks ago, but from the image and videos as a platform, it is pretty it is pretty strong platform.

12:07 It is a pretty strong platform and its integration because of its leader is going to make it stronger, you know, because XAI and Gro and all of this and Elon, it's like the same is true. Actually, I'll just round up the Figma news because I did have some notes on it. I know that video didn't work for us, but um it said, "Starting today, you'll be able to generate Figma design files using codeex." Codeex is basically like an MCP Figma server. And this is what I'm seeing a lot, mate, is basically you're going to be able to use code to make design now. You know, like all of these big design tools that are sort of open canvas. Previously, you'd have to master the interface. you'd have to know exactly what you were doing in order to get the most out of it. Now, you're going to be able to write an agent that will be able to talk to the software on your behalf

12:55 and start making these things. So, it's going to be interesting to see how apps develop that way because Figma is a great app creator. Yeah. Same like Lovable and other other places like this. There's a tool called Quiver which does that. It builds code. It's code. It builds and then you're seeing eventually you'll see the image and you you'll see them do it in real time. So yeah, I think that might be look like like a standard thing soon. I agree. And I think people like me who have never been into coding uh vibe coding and all of this is going to be useful but only to the degree where like you're not launching products, you know, because then you're going to have all the security issues. But what you want to do is vibe code your own little apps, you know, just to solve internal things like take stuff from here, put it over there, you know, keep an

13:47 eye on all of this, look at my emails, do this. But you're not releasing it to the world. Yeah. You're just solving your own little internal issues. That's what agents feel like they're going to be a very useful thing for in the near in the next year. I would say a lot more of us will be able to subscribe to agents, too. We're seeing this open claw one, but the problem is you need a lot of technical knowhow to integrate it properly. Otherwise, you could get really badly hacked and uh it could go very seriously wrong. So, what's going to happen is that companies will release versions of this that you can just subscribe to and then they'll take some of the, you know, setup issues and stuff like this and you'll just be able to subscribe to something. But if you have the technical knowhow right now, you can buy a Mac Mini, you can set it up on your own, open source without all of that cost or waiting for it to become

OpenClaw, Mac minis and Perplexity Computer

14:39 a service that you can subscribe to and you could get ahead essentially. And lots of people are seemingly but yeah, kind of crazy, huh? Yeah, I think well Mac minis went out of out of stock. They sell so many uh when it comes to this. Well, Perplexity released Perplexity Computer, which a lot of people are saying it's the cloud version of it with with a lot more security. I heard about that. That's another piece of news that wasn't in the roundup, but that's brilliant. You know, like Perplexity apparently though makes it so that you have to be on the $200 a month account to access that right now. So, the idea is that either that will come down to, you know, the more average user on the $20 plan or something like that. Yeah, that's what they say. Yeah. or someone else. But again,

15:25 is it going to be the same thing? Like, use my agent, use my agent. Everyone's going to be wanting this, aren't they? You know, and so which will be the most useful to us. If I I think when Google released theirs, because of how much of the Google suite we use at the moment, theirs would likely be the most useful to us. But it's all about what tools are in your stack and where you where your connections are and all that, isn't it? Where your email even is. Do you use Gmail? Do you not? Like, yeah, I'm a Gmail person. What are you you Gmail or Outlook? Yeah, Gmail. Gmail. Yeah. What about in the chat? Are you guys Gmail or Outlook? Are you more Gmail or Outlook? I'm I'll be honest. I'm Workspace. That's a good good another good question for the chat is just where could be your ideal agent? You know, if any of the tools could release an agent,

Gmail or Outlook: whose AI agent would you pick?

16:10 which one of them would you like it to be? Would it be Adobe? Would it be Apple? Would it be Microsoft? Would it be Google? Would it be Chap GBT? Anthropic? Who who exactly would it be? Don't do Claudebot. They found so many plugins and malware back doors. I've read very very similar things. And like that's why I preempted it was saying please don't even try this if you're not technical. I've seen one guy this I couldn't believe the YouTube thumbnail mate. He said I left my Claudebot open for eight hours when I went to sleep and by the time I'd woken up it had spent $80,000 in going in circles. He got stuck hallucinating on hallucinations. So, it just kept going round and round. It got nothing useful for that $80,000.

16:56 It just And that wasn't being hacked or anything. That was just, oh, you didn't know how to stop it, you know, and you woke up to this massive bill. Someone said that as well. someone she I think the woman worked for a big company and then the guy who wor who created the clawbot had said cuz she put it on Twitter or ex he said you just had to put forward sltop but by then it was I saw that yeah I saw that yeah and she was like the head of security at Meta wasn't she yeah I knew she was yeah she was working for a big company so Meta but yeah it looks like most of the chat is Gmail users absolutely and this is the thing you argued If you if you own the hardware, you own the place. But if you own the software like the Gmail, then it's going to be the natural integration to a Google agent, isn't it?

17:46 Because we we go much deeper than that. We have Google space, you know, like you know, hard drive upload space and Google cloud space and there's so much more integration across the Google suite. So yeah, it's it's going to be hard for anyone and whether or not Google because this is the problem with agents I foresee is Google's tools like Gmail might not want to integrate with an outside agent. You know it might not it might refuse the data or not trust it or you know it might be its biggest competitor. So yeah, it could be they could turn around and literally say if you want to use all of this with R, sorry, if you want to integrate a large language model with workspace, then you have to use Gemini, you know, you have to use the Google suite. That could potentially be I doubt they will just because of

18:37 how they've always operated, but then again, they've not always operated in the AI space. They've always operated obviously stuff outside of AI. So we'll see. We'll see. I know that you can obviously use you can connect it to Claude, you can connect it to Perplexity. At the moment, you can connect it to uh Chat GPT, but um yeah, we'll see. So, we're going to get into loads of ads and stuff this week. Actually, I should have said at the top of the show, you know, we're having a bit of a pivot of this show in that we love um music videos. Like, we had Meta Puppet on last week. God, that was a great episode. I couldn't believe how good that music video came out. If you haven't watched it guys, go back and watch that Metav up episode because it was incredible to hear his story about it and short films as well. We've had Dave Clark on and others, but really we're in the advertising and marketing space.

Why AI LIVE is pivoting to advertising

19:27 And whenever anyone asks us the question, where is all the money in AI? I mean, generally is in the advertising and marketing space because it's hard to sort of get your short film made into anything. And music videos. Again, it's like you have to work with a big band and big labels are a bit hesitant, but advertising is just going crazy. You know, brands of all sizes all around the world now are dipping their toe in to have a go at this. And so, yeah, if you're if you're making good ads or if you're working on spec ads or if anything like that, start submitting them to us for future show. Uh because that's what we're going to be doing is just showcasing loads more of the marketing and advertising stuff. And what it also allows us to do is we can have a spin on the news of how it pertains to marketers and advertisers.

20:17 Not just that, you know, Runway's got a new this and that, but Runway can do this. So now you can do this type of advertising, this type of marketing, this type of storytelling. That's the sort of spin that we want to have on these sort of things. And so the next piece that we've got actually is um a runway update which is why I sort of preempted that um called character renderer app. What if I told you that all of this started with just a simple sketch? Take your sketch, head to runway, open the character renderer, upload your image, and press generate. Want more control? Click the view workflow button. Here you can customize anything. Need a character turnstall? Add some notes? Done.

Runway's Character Renderer app

21:07 Want to have a conversation? Done. You know what? This is actually kind of wild. Want to see everything in action? Plug in your favorite video model and see everything come alive. While powerful alone, the character render is just the start of your next adventure. Start building your first character now with Rem. I paid you for the antidote. You cannot handle its power. Nice little demo there, eh? I thought why I like runways that they they're just quietly just getting on with it in the background. It doesn't feel like they're panicking. They're just saying, "Look, we know what our plan is. Let's stick to the plan.

21:54 Stay focused and we'll be all right. And it I just like some of the things that they do, some of the updates. It's very smart. You can tell it's done for video directors like they can That's exactly what I was going to say is that they don't really, you know, fuss that much over the BTOC consumer as much. You know, they're not trying to heavily market it. They know that they're going to be for big film studios and for experts. Um, so they, you know, it's the opposite to POLAB's approach when they first came out is Palabs were like, we can make fun little social gimmicks and they leaned heavily into that with a cakeifi and the squash it and the and then runway have always done the exact opposite. They've gone, we know you need these tools for your film making and that they're extremely expensive to do it the traditional way.

22:41 So, we're going to work to make it so that you can have tools that aren't so expensive that do similar things. Um, let's watch it again on stage with mute so that we can actually comment, you know, bit by bit and I can actually pause it in sections and stuff. Uh, cuz I think this is really interesting cuz someone pointed out in the chat, yes, there was a node space thing there and yes, all of them are having nodes things now. You see here, for example, it just did it really, really quickly, but you can see there's an app section now as well and like templates and stuff within Runway. And as you said, everyone's getting this now. Weeby's got it, Free Peak's got it, you know, everyone's getting it. It's um it makes sense, doesn't it? You know, to give stuff like out of the gate to people.

23:27 Also, Runway has other video models in there. Like, everyone's accepting everyone else's tools now. They've got V3 and stuff in here. Some are having some say about it. You know, I believe up until now Adobee's not allowed um Seance and Cling and some of the more, you know, IP infringing e Eastern tools. But the pressure is mounting because they're just getting better and better at stuff that these tools can't do. So, if you don't add it in as an option, people will gravitate towards what those that have all of those options, you know? Yeah. Um, so I don't know whether it's good or bad of Runway to admit that they need to have all the other tools in there, but if you're going to offer a node based workspace, it's dumb to only offer your tools in that node. You know, it's way better to have all the available tools.

Why is every AI platform going node-based?

24:17 So that that stood out to me initially, but that's I think that's a standard thing that so many platforms it's like I was using perplexity yesterday and then you could use claude within that. You can use like chat GPT in in Perplexity. Apparently that uh that perplexity agent can talk to all known APIs of AI tools. Yeah. So can you it could use all of them on your behalf. Only even the engine just the general like you can go in the settings and change it to whatever level. That's crazy, isn't it? I think it's I think it's going to be a standard thing across most most places. I agree. It's going to have to be you come to board with this or you just get left behind. Yeah. You know, but yeah, you can see a lot of stuff that we is sort of familiar with there. The nodebased system. Exactly. There that looks like it could be free pick. It looks like it could be weave.

25:06 No, it's runway. You know, um eventually they all had to create this version of a nodebased thing because it is so useful to have a system that you can build like this to interconnect tools to so that you don't need to do it again every single time you start from scratch. That's the thing that I'm starting to learn. But yeah, let's just keep watching through this and see what else they talk about. So yeah, character replacement, avatar replacement. Again, we used to have this thing called loras, didn't we? Where you had to train a lura with dozens, if not hundreds of images of a character from different angles. Nowadays, it's not really that complex. You can use a lot more like one or two reference shots, and the character continuity carries through.

25:51 It's quite amazing, really. Yeah, this is fantastic. It looks like it could be an Assassin's Creed game or something. I was about to say it looks like a video game that I'm watching. It's very cool. And that sort of runway launch trailer to make that cuz otherwise you're just looking at really boring platform updates and that's what you discussing. Whereas if you've got really nice, oh here's how it can be used, then it's a nice showcase piece as well. Yeah, definitely big fan of runway. But I am going to have to Oh, yes, mate. You got to go, haven't you? I've got to go, but I'll be back in about half an hour, everyone. So, enjoy. You're in great hands, and I will be back shortly. Hey, thanks so much, Miriam. Yes, I will see you on Thursday. And anybody else that's around the London area, I'm going to be hosting a section of the Bionic Awards.

26:41 If you don't know about that, I will send a link afterwards. Yes, I will be I will be seeing you on Thursday. Runway is indeed solid, Martin. I agree. and it always has been. It's sort of quietly doing its thing. It was the OG in the space. Now it's suddenly, you know, trying to get back up to grips with the um the nodes and everything else that all of the others have sort of gone a little bit ahead with. The 4.5 model um image to video is very solid as well. But the thing that I'm most excited about with Runway is definitely their world model and Google's world model as well. I think world models will be a big change to this year. What else have we got? Um, number five, we've had runway launched.

Canva acquires MangoAI and Cavalry

27:28 So, Canva acquiring Mango AI and Cavalry. If you know anything more about this story in the chat, definitely let us know. Let's unmute this one so that we can watch it together. You're bing the bing with your boss. The movie pop it up the

28:14 switch now. Always helps when you've got a really good beat to edit it to, doesn't it? But yeah, really nice showcase of what's to come from Canva. Looks like they've acquired two big companies um which will lead to specific things with them. Uh I think Mango AI is basically uh motion design and they're adding to their creative suite uh with algorithms and professional grade motion design. Yeah, banger as Martin said. Yeah, great video. Let's just watch it again with mute. And um let's have a look just so I can get every single bit of this. Yeah, it's interesting. So, it's more of a showcase. There's some really nice stuff going on.

29:08 Yeah, it's just more just showcasing of it really. Now, that is the bit that I wanted to pause on actually is um we're going to start seeing a lot more of this basically where that looks like an entirely new suite like a whole workstation to be working with like a timeline type thing. I think 11 Labs has just introduced this as well as Sunno and others where it's a full-on workstation like digital audio workstations are huge like Logic Pro and ProTools. Then we've got Premiere Pro and we've got all of the Cap Cut. We've got After Effects, you know, all of these software suites of tools is starting to become more and more complex. But then it's it's strange because AI is now bleeding back into that territory.

29:54 We've all been used to dealing with these simple AI interfaces that are more like chat bots and suddenly they're becoming these huge tools again that look like this. It's just interesting to see. Anyway, yeah. So, um, got some interesting comments coming through. Node and workflows are game changers. It's so much easier to make things uh that can be expensive if you accidentally run all they're definitely more professional, Martin. Yes. Um, and as you said, if you're doing things over and over again, like why reinvent the wheel every single time? You can create a basic like virtual tryon workflow node creation tool for example and just swap out different clients work if that's what you use all the time for your client work. But yeah essentially

30:41 if everything you do is different every single time then nodes will be less useful to you is when you have things that you need to do time and time again or have a bigger team share into it and contribute all into one place as well. Do you think creator tools will become cannibalistic as they cross over between apps, meaning some of the nuances in Runway evolve with other app tools? I think that's a very good question, Mary. Yes, I do. In fact, I think we've already seen evidence of this happening already. Runway actually was so early into the game that their motion brush tool was copied by many people initially because it was so popular as a feature. And now I think that we're gonna start seeing stuff from sea dance and their multimodality

Will creator tools cannibalise each other?

31:28 actually influence the other way around. So now we have this thing called omni reference which is basically the way to prompt in sea dance and there you're able to upload both audio video and image and up to multiple of these. You can even take the motion from one video and the design of another video with uh image references and audio up references and yeah it's just setting a new bar essentially which means that the nuances of apps will have to evolve towards this if it proves to be very popular within that community. So yeah, I think the more unique features these tools add that prove extremely popular with their own little users, the more there'll be demand for it to be brought across to other places

32:14 and vice versa. Hey, hey, Lara, how's it going? Definitely in the teamwork for the node stuff. You know, you know the score, Martin, and I did promise you that we're going to showcase one of your videos on a future episode. We've got a bit of a a different show this week where it's um more based on advertising and marketing and news actually because we'd have such little time to prepare for the show actually that we haven't got you in for this week even though I said you know you are definitely going to get a feature with us so don't worry. What else have we got in the news this week? Um we have Recraft launching Recraft version 4 vector. So, I'm not sure that we've got a video for this one. Actually, I think this is just literally a piece of news.

33:01 If you're if you've used Recraft before up to version 4 now, let us know. This is a tool that can do vector graphics and SVG files directly from text to prompt exporting with refine support for Figma and Illustrator. So, if you're someone that works in that type of thing or with that type of tool, let us know. Oh, um, another thing, Martin, is if you send over your links, we do have a producer now who's actually in the background. Remember how a few weeks ago I tried to download some of the videos you guys were sending during the show and I made it lag really, really badly? Well, I learned my lesson. I'm not going to do that anymore. But we do have a producer in the back end now. So he is able to download and add things into the back end of the studio

33:50 if you wanted to send us week to week things. You know, someone asked earlier as well how to submit stuff to us. Uh you can come directly to me on LinkedIn. My profile is actually open to receiving free inmail. So even if we're not connected, you should be able to shoot me a message. Also, we have Creativis's own inbox. Creative being the page that we broadcast through and our community AI page. It has its own inbox. Hello Mark. How's it going? Thanks for tuning in. Whereabouts are you tuning in from? Let us know. Yes. So, let's have a look. What else have we got? Um, I'm going to round up some more of the news. Andrew is going to join us back again after a bit of the news. But, um, we did have a huge amount of news this week. which is kind of crazy really because we only were live on Thursday last week and this is all you know happened

34:43 essentially between Thursday and Tuesday or a lot of it has anyway which is just showing how quickly things are moving in this space honestly it's kind of frightening to even try to keep up with it. Um so Sea Dance which a lot of people have been talking about and we're sorry that you don't have access yet. It's been delayed and delayed from the public roll out. Apparently, they're building more guard rails and they're going to make it a little bit more friendly before they put the API out there. And um people like us who have access through Cap Cut or Dreamina or other ways. Um it's kind of annoying because every time we talk about how good this model is, none of you guys are actually able to use it. So, it's kind of frustrating. Hello Frederick from Dubai. Thanks for tuning in.

Seedance 2.0 video inpainting by Curious Refuge

35:29 But yeah, the um the news on Sea Dance is essentially that it is not just a great video model. It essentially can do replacements as well. So, we've been looking at some of these uh examples like we've got on the stage here. Oh. Yeah. Here we go. So, just pausing it quickly. You can see how the object being changed here is the eye. So the reference video is just the normal video that's being added to sea dance. And then within a text prompt, they're using modify eye. So that's able to change the color, change the likeness and look. It looks much more like a snake or whatever. So this is what we mean. It's v is video in painting essentially. I'll let the rest of the video play out with the audio up and then I'll rerun it again to comment on it afterwards.

36:20 But just to give that sort of context Heat.

37:11 Heat. Pretty cool, huh? So, yeah. Um, it was unique to Runway actually in their ALF model uh to do this video in painting for quite some time. Then we saw Luma Labs come out with their version that could modify video. Now we're seeing Seance come out with their version that can modify video. So as alluding to someone's comment earlier, we will essentially expect this to be in V4 and other tool updates of the video model persuasion because it is very important to be able to do editing and inpainting of video and not just producing of

38:03 said video. So yeah, I just need to mention there that that one was made by the Curious Refuge team who as met a puppet was last week. They actually are part of Dave's promise studios now. They've acquired Curious Refuge. Hopefully, we'll be doing some collabs with them in the future. But a nice little uh rundown of some great examples there curated and created by the Curious Refuge team. Let's watch some of these on mute, shall we? Um yeah, I've just uh yeah, just getting to grips with all of this. Yeah, let's watch some of these on mute. I really like the eye. That's such an obvious one, you know? It makes it so obvious what's been changed there. And it shows that the rest of the video looks the same because this was the thing that we experienced initially

38:51 was oh it regenerates the whole thing from scratch. It doesn't actually just impaint the part you want to change. The whole thing was having to change whereas this clearly shows that is the same section of the eye. It's just different there. You know everything else around it looks pretty much spot for on exactly the same. Then we've got one where the clouds have obviously disappeared and they've changed the weather. Now, it does look like there's a slight difference there with the hat. And well, I mean, the difference is that the light's different. So, it's kind of insane if you think about it. Like the refraction of the light off of that uh hat and stuff like that, it would make it look a different color.

39:39 So, it's incredible really that these tools are able to, you know, hear a modification like remove all of the clouds and then impaint all of the light so that it actually makes shadows and stuff different. Although, yeah, the shadow definitely looks like it should be taller on the top image versus the bottom image on the hat on the back hand side of the hat. But again, we'll let them off because it is kind of insane that this is happening. Again here when we um I actually saw the curious refuge breakdown of this one and some of the uh things it didn't quite understand. So initially like the e scooter when they tried to get rid of that they weren't finding that it was understanding that this wasn't an old vehicle.

40:31 So, it was actually replacing the bike and stuff with like a car, but then they had to actually change so it's in the middle of the road. You can see in the scene below instead of on the path where the top reference video was because the ecooter is something that wasn't being displaced. And again, this is where you point to things like, well, instead of just uh text prompting this or whatever, maybe you can actually circle that segment of the video. You know, have the motion brush thing that um Runway added initially, highlight the area that you want to be scrubbed or changed because if it's not picking it up through reference alone, then we need to give it more of a manual basis. But yeah, interesting one here.

41:21 This one they've obviously asked for the uh character to be changed out from a bear to a cow or a cow to a bear whichever way around you're going around. So yeah, cow to a bear in the sense the person running behind the animal is the most interesting thing here. You can sort of see that on the reference video she was running in from the left. Um, but then on the bottom video, you can see clearly that she just suddenly appears from behind the bear. The reflection in the water of this UFO crash landing is the most impressive one. I think that's probably of all the modified videos. This meatball one where they changed it from asteroids to meatballs was kind of funny because you could see that the front of the car got splattered with a load of meat as well and spaghetti.

42:11 Kind of hilarious stuff, right? And the dragon appearing out of the clouds is probably the one that's going to be used in everybody's short video advertisement and music video because that just looks epic to be honest with you. So yeah, some really, really cool examples made there by the Curious Refuge team. Really cool stuff. Okie dokie. What else have we got? What are you guys chatting about? That is absolutely wild. I want to play in this sandbox. Well, when it becomes available, Mary, it will be through dramina.capkut.com as the actual interface and it has all of the suite of the Cap Cut bite dance tools. You can actually go there right now and you'll still be able to play around with 1.5 C dance and Cdream 5, which is their image module and everything.

43:00 The only thing you'll be missing from that sandbox essentially is the C dance 2.0, which is the one that's been shown here on demo, but you will be able to use everything else. The credits are a lot more logical. Actually, I was very impressed with how little Dina is charging um compared to the other ones that work out there. The credit system seems very logical, very affordable, which is great for us that want to make, you know, more things and without using client budget. The cow should really be a hairless cow, like a Sphinx, cat cow, bear cow, bear cow. That's hilarious. But yeah, it's it's just great, isn't it?

43:45 Like thinking that we can replace any character or object within any scene that we've generated instead of having to regenerate the entire thing and hope to get the same look and feel as the original. Instead, now we can use these generations less like a slot machine and be much more granular and fine-tuning with editing them. What else have we got in the news? So, that's it for the news really. I think that's it. We've got through 45 minutes of news this week, which is absolutely mental to be honest with you. Like I said, we've only been live on Thursday last week and all of those new updates came just basically in the last week. So, we have got a bunch of ads that we've cured for this week being that we're doing marketing and advertising.

44:31 I wanted to save some for when Andrew drops back into the show to get his real reaction. Um, but I will definitely start showing you guys some. Um, yeah, we have a whole selection of stuff actually to showcase this week. Not as much as we usually would have, but we have got a nice little selection and we've even got some films and music videos to close out the show. Just some more examples of Sea Dance. Actually, Dave and others have managed to put some stuff together. So, we've got all of that to watch. As I said, now you can also submit your stuff to us live. So you can uh send it through to me or to Paul Parsons who's actually uh my co-founder and directing the show in the back end today. We we will set up a we've got a WhatsApp group, don't we? So you can also put it in that WhatsApp group and um we're hoping to set up a landing page in the near future so that you

45:24 guys can more easily submit. give us a little bio and a genre and all of your social handles and then we can easily put you onto the show with full credits and then even into our YouTube shorts and stuff hopefully. Okay, so let's have a look at um one of the first ads that we've got today. This one is an Adidas campaign. Now, the reason I've created this one for the show is not because it's AI. Is actually not AI. Um, but this is one of those pieces that if you don't work in the advertising industry and you're just starting to do spec ads for the first time now, you may not be aware of what's going on in the wider advertising industry.

Adidas Superstar with Samuel L. Jackson

46:10 So, each week I'm going to be selecting a handful of real ads and a handful of AI ads and a handful of spec ads. This one being one of the real ones. Let's watch it. Was racking my brain trying to piece it all together, trying to remember. Then it all started to come back to me. I knew they were still here somewhere. Somewhere. Somewhere. You can tell where they been, can't you? The air still hums where they pass. The ground still remembers the weight they carry. Every mile I drive, every foot that goes by, I see them.

47:00 Well, Sam, where your shoes? Most folks, they make moments. Flash, gone. But some make movements. They don't just walk through time. They leave it different than they found it. WHERE ARE my superstars? Surprise, huh? That's how you fight them. Cuz some prints show you where they've been, but these show us where we've always been going.

47:49 Found the mother superstar. Brilliant. Hey, there we go. I'm unmuted. That's brilliant, isn't it? Couldn't have picked anyone else for better for the superstar range. And that last little line uh was kind of brilliant. I love the shooting of that. And uh it just looks so good. What do you guys think? Let us know in the chat what you thought to that. A real, as I said, Adidas ad with the real Samuel L. Jackson. Don't encourage you to use, you know, fake people like this, as in like don't make an AI version of Samuel L. Jackson in your spec ad and stuff. Um, best not to do stuff like that.

48:35 But, um, yeah, incredible real advertising that's going on. There's a question here from Frederick, which is a totally unrelated one to the video about which um video models to subscribe to. Higsfield, Cling, Runway, Weevy. Yes, it's um it's a hard choice. Now, what I'll say there, Frederick, is that Weevi uh is not a video tool. Weevi is just the bootloadader to video tools, and others are the same. So you've got foundational models like Clling. They actually are their own video model where you can go and subscribe to use their tool directly

Which AI video models should you subscribe to?

49:20 but Clling is also available in Weevi and Higsfield actually and now runway I think. Um so Runway and Clling are like the foundational models that you're discussing there. Higsfield and Weevy are like places to use these models and they can be more cost- effective if you're trying to use multiple models and create workflows and use nodebased applications. So yeah, that's what I would answer in terms of where you are on the fence. You've got a way to think about it. You've got foundational models, you've got VO, you've got Cling, you've got uh Runway, you've got other tools like this that have their own tools and now include outside tools as well. Or you've got places which are workspaces

50:10 like Weev and Freepick and Higsfield which add things extra, but they don't add foundational models generally speaking unless they're image ones. I think Higsfield has soul and a few other things like this, but certainly it doesn't have its own foundational model which is competing at the likes of these other ones. So that's one way to think about it when you're thinking about where to use it. Excuse me. I'll give you a very uh specific client example actually. So when we were doing a client piece a few months ago now, we had this same issue of where's the best cost-effective way to use video modules for our client work. And at the time it turned out that actually

50:58 subscribing to Google's um $200 a month plan gave us unlimited access to V2, which was enough to answer the client brief. So what we would have realized there is if we'd used a third party tool like Higsfield, Weevy or Freepick in order to use V2, we'd have been limited to how many videos we could have produced um for that $200 essentially. And so being that we knew that we needed to make more than what $200 would allow through a third party source, then going directly to the foundational model and subscribing to the top tier was the best option for us. So, I hope that um gives you a bit of insight as to the way we think about it. When tackling a client project, we'll often think, well, which is the tool we're going to be using to answer this mostly,

51:49 and do we have unlimited access to that tool or will we need unlimited access to that tool in order to answer the brief? These are the sort of questions that we'll ask ourselves. But yeah, great question. And we want you guys to get the most out of your money, obviously. So, it's important. So, now we're in the vibe. We're in the advertising vibe. We just watched a real ad by a massive company with one of the biggest superstars on our planet. Let's start watching some more down to earth stuff. And we'll start off with um an Olympic spec ad by Eric Young. This one is bite dance with some human limits. Uh yeah, let's check it out.

Eric Jung's Olympic spec ad

52:47 Get out. Heat. Heat.

53:40 Wow, this was super cool. Really nice sort of like panoramic cinematic uh camera work. Yeah, let's watch it again on mute whilst I talk through it. Really cool. Just I love the black and white aesthetic to it all as well and this like high expensive what you know it is a 720 around the athlete there. Super cool like zoom in slow motion 360 panorama zooming into eyes zooming through mouths just really really cool stuff and yeah the camera work by me it's uh next level isn't it something that we could have only dreamed about honestly six months ago in AI video was stuff like this the transitions as well really really smart idea to sort of zoom back through

54:31 somehow you know through the mouth through the eye Yeah, through the mouth in that one. This one seemed the least realistic to me because of the things that were sort of falling off of the weightlifter there. But the others, it's just incredible how much more accurate the physics is. Like the biker there, it looks like the clip went in reverse at a little point there. But other than that guys, you know, like seriously, it was so hard to produce anything that was sports related just because of the physics component and the AI videos just not understanding at all. Andrew and I used to laugh all the time about the boxing because he's really good at boxing and, you know, practices a lot and he knows exactly how it should look and the physics of

55:17 punches and stuff like this and football as well. We're both passionate about football and it's very hard to emulate these physics, but sea dance is definitely coming by far the closest. And yeah, you guys obviously loving the transitions there, which um yeah, the transitions between the different uh athletes was probably the, you know, one of the best parts of it for sure. Um yeah, really, really cool stuff. Let's watch with some of your comments on um wish they didn't defy gravity so much. Lol. Yeah, that is one of the problems Mary is. I definitely saw some like uh extra human, let's say, uh physics going on there. But for the most part, you know, it's just so much more realistic. That diver as well drives way too far off of the platform

56:07 rather than it being the reality of them just going straight down. The ski jump one looks really really cool. I love the idea of like pausing it mid shot there and then Yeah, but the basketball one I can remember we tried for so long and they didn't actually get the basketball to go through the hoop there. I did notice maybe that was a bit of a copout. Uh the the basketball definitely missed the duck. Exactly. I think that's probably just trying so many times to get the ball to look right with the physics of the net and stuff that they just abandoned this altogether. The idea of it being a dunk. But yeah, that's kind of funny. If you know, you know, type thing, right? If you know, you know.

56:54 But yeah, really nice advert. You know, the black and white feel to it was really, really good. Um, the transitions, as you guys have all pointed out, were probably its strongest element. The only things to improve would have been, you know, the overall aesthetic feel of the physics. Just more realistic. As you said, a bit it's a bit gravitydefying and superhuman. Hey, there you go. He's straight back in, mate. How's it going? Yeah, sorry about that. Just had to deal with something. But all good. Popped out. Loving it. Yeah, I just caught the end of that. What? And the Olympics. Who was that at? Specad. Yeah, specs. Nonofficial. um done by uh Eric Young. It was Sea Dance and it was just showcasing some really nice transitions.

57:41 Oh, we'll watch it again. Let Paul's loading up in the background on mute. So, yeah, really cool. You know, we saw slow motion. Yeah, exactly. Slow-mo camera work, zoom in, transitions. Yeah, like it's it's stacking a lot of really cool stuff up together, isn't it? This looks like Adidas would have done this advert. This looks like Adidas ad. It's funny you say that. I was thinking they've done black and white ads in the past, too, haven't they? Yeah. Yeah. I wasn't the the the one before that I wasn't very impressed with, but this one looks good. The ski was very good. And this one Yeah. Someone said Mrs. the dunk. Yeah. It started off well and then it kind of went into random.

58:29 This was good. Yeah, this is good. But I guess the physics of this is pretty straightforward. And I noticed I didn't even didn't even attempt to do football. Yeah, this but that motion of the wheels spinning and stuff like it does kind of go backwards there for a second, you know, and that has always been its issue with like knowing forwards and backwards in time and stuff. Um, but yeah, like really really good as a spec ad. It does everything you want, doesn't it? You you sort of captured the feeling. You captured the raw emotion. It's about a current thing. The Olympics is on right now. You know, the Winter Olympics is really big. The only problem with all of this, as we discover when we try to do stuff for WWF, is essentially that the Olympics hold such a strong like thing over their logo that they may not like the idea of a spec ad even being made with the

59:20 logo on it. But yeah. Yeah, of course. Yeah, that's the only problem with that type of spec work is uh very protective brand logo, but for a great thing, you know. Yeah. Really cool. Really well put together. Good idea. Good idea. Yeah. So, the next one we're going to show is a one minute ad made for $10 apparently in Cap Cut by Alex Petracu. Maybe it is. But out here, the dirt doesn't care about speed. It cares about grit. You wake up before the sun does.

A one-minute truck ad for $10 in CapCut

1:00:07 Not because you have to, but because the road is waiting in the road, it has a long memory. It remembers every tire load, every promise you made to get it there on time. Gravity. Gravity is a law for most, but for you, it's just a suggestion. When you have enough torque, the ground learns to let go. It's not about the miles behind you. It's about the strength to keep facing the ones ahead. It's an engine that turns over every single time. Build your heritage, one mile at a time.

1:00:52 Yeah. So, nothing mindblowing in the storytelling, but you know, for $10. And can you remember what Meta Puppet said last week about how much more usable content comes out of Sea Dance than other this is this this is exactly what he meant you know like for $10 he's got a minute's worth of usable clips here that all work together is the thing. So extremely cost Yeah extremely costefficient. Um not groundbreaking by any means but the just like how much this looks like a real Ford video is kind of insane isn't it? Like this is the type of advert that if this if Ford actually made this and it wasn't a spec ad, I could see Ford getting a bit of a backlash.

1:01:38 And what I mean by that is you could have done this without AI. Like the person looked real. Here's the bit where I thought to myself, you could tell us AI. The way the wheel was spinning the middle bit of the wheel. But this was probably like where people would start complaining cuz you were like, "Okay, yeah, that bit there." people would think this is um like they could have just got a real person to do it. That that's where but it's the other stuff that you look at and you think actually this is where you can save money. It's all that like that B-roll footage of the feet. All it is is the foot just walking or the the tire the dirt and like all these things that can that look really really good which you don't need the real person there. Especially when you think about this specific video because that would have worked perfect as a hybrid production where you

1:02:27 did take someone small, you know, like a small business owner that relies on that truck and you say, "Well, instead of having this guy create all of this, you know, the cinematic stuff, we'll just go interview him and get some real footage that we then as as you say, add the AI bits of the truck moving and the and the other bits." But yeah, keep like I think that's all about the tone, isn't it? Because if Ford really did make that and they said this is a small business owner that and it's not a real person and it's just an AI character, then it's going to come off terribly because there are loads of small business owners that could do that sort of thing. And again, it's all about how and why you use this stuff. Yeah. In with your intent and stuff, isn't it? Yeah. And I think that's the key thing I think brands need to kind of understand.

1:03:12 It's the intent. You know, it's not a case that people are against the technology. It's how you've used the technology. And I think that's going to be like more of a challenge to the brands than using the technology itself. It's that I agree because they'll they'll try and use it for things that they see their competitors using it for without understanding the backlash. I bet that happens a lot. Um and yeah, like the last thing you should do right now if you're a fashion brand is displace your models probably because that's the way you'll get your biggest online backlash straight away. Whereas if you did it for virtual tryons or did it for something else then you know far less backlash. It's a lot of luxury brands are doing using AI. I reading an article I actually posted it in the WhatsApp group or I was about to post it and it was

Are luxury brands quietly using AI?

1:03:58 luxury brands or a lot of luxury brands are using AI for the production as well as just like general use of it like how they can use it for work etc. CRM systems. They haven't talk they haven't mentioned it about the actual models just yet, but I don't I wouldn't be surprised if it's just a matter of testing the water. They want to feel the temperature of the room before they start doing it because I can see them thinking, "Right, let's use those." Cuz I don't think you have supermodels like you did back in the 90s like uh Cindy Crawford and Naomi Campbell and like all of those. I don't think I don't think we have those type of supermodels anymore. Well, it's the fractionalization of media in general, isn't it?

1:04:47 Like there's no big TV stars anymore. Like there's no like the people that are the most famous that sell out stadiums are YouTubers like this. It's nuts. I heard I heard a com a comedian actually. This is a funny little bit, right? He was uh he was headlining a show in Vegas and he goes, "Bro, I couldn't believe it." But right before me, I uh there was an entire stadium full of people for a guy I'd never even heard of. Like I didn't even know the platform that he was on. And yet there were like 30,000 people fans there to watch him. And like he's he just goes, I know I'm getting old because, you know, not only have I never heard of him, but I've never even heard the platform that he's most known on. It's like it's like, yeah, oh, I show speed from Twitch TV is here.

1:05:36 You know, you could hear that as an actual sentence and people go, "What?" Yeah. I show who from where? Exactly. But this guy, geez, this guy, I actually don't mind I show speed. I actually think he's quite funny. Uh but he's he's Oh, yeah. That the type of fans that this guy has is ridiculous. But it's the live broadcasters, isn't it? It's the people breaking through the new mediums. I think it's fascinating. Like I've been watching this guy called the burnt peanut. I think I told you about him last week where he's a streamer who basically uses an AI avatar like as a peanut and he's he's just got his mouth and his eyes that are real. So basically you see this peanut character and he's brilliant. He he plays it so well. It's like Meta Puppet. That's kind of it. You know, he's created this avatar, like this

1:06:25 illustration that's you don't know George, you know Meta Puppet. You know, you know, you know the character he's created and it's it's it's great branding. It's is very very smart. Yeah. Right. What else have we got to watch this week? We might cut off um a little bit early this week, guys, to be honest with you, because we have um essentially, you know, not had a full week of gathering stuff. There was so much news to get through that we just had to plow through it. But yeah, we're gonna hopefully have a lot more examples for you next week. Um, actually, I can tell you definitely we'll have a lot more examples next week because on Thursday I'm actually going to be hosting this Bionic Awards event in London and I'm actually going to be doing the advertising panel. So, I'm going to be asking the people there if they want to come on the show. So we might get some of the people I meet in London on Thursday actually on next week's live show which would

1:07:18 be really really cool. So is the bionic was the guy that used to work was it at the evening standard that he came on the show and he was that guy. Okay. Yes. Exactly. He's the lead tech editor and he's done it all personally you know him and him uh they've just organized this the last six months this massive get together in London as an award show. So, it's actually uh highlighting the best in animation, the best in music videos, the best in advertising, short film. Aken is going to be there, you know, who's been on this show and he's actually going to be on one of the panels with me as well. I'll be moderating and hosting him on the panel and there'll be loads of people actually that have been featured on this show actually there in person. And so, when is it? Next f next week, Thursday or Thursday? No, two two days.

1:08:05 Yeah, two days. Okay, cool. Nice. Nice. Yeah. Yeah. If you're able to make it, guys, there are still some public tickets and you don't need to have been someone that submitted or a judge or anything to attend. It's just you have to be able to get to London essentially. Yeah. So, all said, I have a client I designed paddle sportsear for. All the models he uses on his website are created by me uh uses AI and a website called Celipic. Basically, I describe the model and setting etc. And I upload the sportsware I design and put them on the model. Very realistic and the models look real. Interesting. Definitely. Great bit of feedback there. Yeah. But I tell you seller pick I've not heard of. Yeah, I can I can see why that's a great it's a great little niche there. I don't know what it's like in the in the Costa del Soul Paul, but I know down in the Costa Blanca it's taking off like crazy.

1:08:58 Well, even I've had paddle three times this week and that's got to be a first for me because my sister and my mom both told me they tried it and somebody else I knew shot me a WhatsApp saying, "Have you tried this paddle yet?" And I'm like, "No." But it's definitely rising when three people I know are telling me in the UK because it's not even good weather. So, so Andy Gascoin, he said, "Do you think AI art production has been accepted yet?" There's some amazing videos around, but then you see SFX specialists posting up calling it AI slop. Is this AI discrimination? Yeah. I mean, they're going to be um insulted. Yes, Andy. Because they're now stepping on their territory. Yeah. So, special effects, video effects.

Is calling AI work slop just AI discrimination?

1:09:45 It's now in the motion design, special effects era. I would say we've been in the art and image era and the basic video era, but not really in the special effects territory until sea dance, I would argue, is the first really like amazing special effects creator. The intro graphic that we actually created for this show was created with seed dance. So, if you've been watching since the very start, you can see some of its capabilities just there. It's kind of insane. Any chance we can play that again? Um, good question. I don't think so because Oh, yes. Actually, maybe we can. One second.

The new AI LIVE intro, made with Seedance

1:10:33 Nice. So, by no means perfect. Obviously, the fire was a little inconsistent. The logo was a little inconsistent. Um, but the fact that that came out of like a few goes is kind of bonkers compared to other tools that we'd used in the past to be honest with you. Yeah. So, yeah, that was one prompt. That was one prompt. Yep. As far as I know. I think Paul made that one. But yes, in terms of answering your question then, Andy, directly, it is a bit of AI discrimination because now they're feeling it personally and they're going to be upset by the fact that it's stepping in their territory. It isn't yet at the high-end VFX level, but no one expects it to be, you know, like we're just really now dipping our toes into this for the first proper time now. So that the fact that it's at where it's at already

1:11:22 is enough. And the fact that they're reacting so strongly is enough to tell you it's coming big time for SFX, you know? Yeah. And and what you'll find though is that the best people that will use SFX in or special effects in AI, they're going to be those guys because they know looks like. So they they're the ones that will have an advantage over everyone else. So I can see that them just going moving across uh relatively quickly to be honest, just because of time it saves and money cost. We haven't quite renamed the show to WTF yet, Eric, but it was a hilarious suggestion last week, mate, and we might keep it uh for a future episode, the WTF episode. Hi, John. How's it going? Thanks for tuning in from Ohio.

1:12:12 I appreciate it. I am. I appreciate it. Did we miss anyone else comments before we move on? No, I think we're all caught up now. Oh, Glenn's just left one. Yeah, but an EFX specialist would be incredible at it. Exactly. That's the point we always make. Glenn, um, Met Puppet last week said, uh, production was the thing missing from his things. You know, he's very good at writing. He's very good at editing, but the production side of thing was always something he struggled with. Now, production of anything, you know, special effects, normal video, anything is something that not many, if any of us will have any experience in because the tools to be able to do this traditionally are like

1:12:57 Cinema 4D and Blender, and they're extremely complex tools, you know, like some of the hardest tools on the market to master. So, the fact that these tools are giving us any chance to start playing around with special effects at all is a really big thing because they're traditionally been to the very very most talented people in the world with software. You know, they're extremely hard and extremely expensive to create. I've heard that special effects can cost, you know, millions of dollars per second like in the highest budget films. So, we're no we're nowhere near that though. Let's be honest, guys. you know, that level of like high-end Marvel cinema stuff that's still, however much you're hearing it from

1:13:44 Instagram and wherever that people might pretend that we are, let me tell you, we're not we're grounded in reality here. So, exactly. It's still a very very long way from that. It's just it's just a small it's just you're going to see I think a lot of the time the small things cuz the other thing as well if when you're talking about putting it on a big screen TV or even a cinema screen you'll notice it because of the obviously the quality it needs to be upscaled quite a lot. Um so you'll notice that and there's nothing worse than seeing bad special effects like you just look at it and you think oh that's poor. So it's cringe isn't it? And you know, we saw some great examples earlier like a dragon coming out of the cloud and stuff that would have looked so cringe in any platform prior to that. So now we're at a level where we've just unlocked this new, you know, box of tricks essentially that we didn't have before that you can pull this off now if

1:14:38 you do it well. um you prompt it well, you keep rerunning it. You're not going to get it every time, but the amount of usable ones where you're asking Sea Dance to say, "Let this dragon burst through these clouds and have a massive flame and it look like, you know, maybe something that could have been in Game of Thrones is kind of wild to be honest with you, you know, like it is kind of wild." But yeah, we got two more videos to go through today, guys. Like I said, we're going to probably cut this one a little bit short this week because um just didn't have that much to get through really. And uh going to get so much more for next week. Uh but yeah, we got more than two videos actually. Paul's telling me in the chat. But yeah, uh oh, actually we got a ton more videos. Uh yeah, maybe I should just shut up and get on with the videos.

OpenArt Hotel

1:15:26 Let's get on to one called Open Art Ad. So the little premise of this, we built this Open Art Studio so that you can stop tool hopping. So this is a platform and a vid a sort of ad that they've made for their own platform in the style of kind of Wes Anderson Grand Budapest Hotel if you know

1:16:14 That one just doesn't want to play. It looks like unfortunately. Not sure. Not sure why that's happened. That reminds me of imagine if you put in a prompt and you ask you put in an image and then that was the video it created and you end up leaving credits. You so angry. You like what? You would be so angry, wouldn't you? Oh, let's see if it's going to work again now. No. No. Doesn't look like it wants to. Forwarding on the video. No. Oh, that's a shame. We'll leave that one till next week anyway. But yeah, it was a cleverly made thing. And uh something I want to see more of actually is, you know, when a platform like releases new tools and stuff, it's not just a showcase of how those tools work.

1:17:00 They actually go and use them and they make something watchable. So yeah, that's basically what that was and we'll watch it again in future future week. Rage flip prompt. Yeah. Yeah, exactly. Nice poster. Yeah, exactly. Yeah, there you go. We're going from AI live videos to AI art. That's what it is. Yeah. Narrations. Great image. Great image. You can do that. All right. Well, let's have a look at the next video then and see if we get any more luck with that one. This one is orange Christmas ad by the AI Candy. Let's check it out. Yeah, this one's working. Was working. No, it was working.

1:17:46 It was working and now it stopped working. Let's rewind it. I'm not sure what's going on here. Maybe keep us on screen cuz as soon as you move to us, that's when it went funny. Yeah, when we moved to full screen, that's when it went funny. Video to picture. All right, let's let's just try adding this one back. No, not sure what's going on with it now. I have an invitation. Welcome to the Open Art Hotel.

1:18:34 How may I serve you today, madam? I really need your help. I'm stuck on a client project and the deadline is today. Show me your client brief. I see. This is serious. For a case like yours, there is only one solution. I am officially checking you in to the ta. Here you'll find everything you need all in one place. Oh, sweet. No time to look around. We've got images to create. Follow hither. The photo booth awaits, my lady. Describe anything you can imagine. A pilot squirrel. Delightful. Oh, yes. Our little pilot needs a plane. Oh, this is fun. It's a flying squirrel. Now, quickly to the movie theater.

1:19:22 I can feel another time card coming. Drop in the frame that you want to animate. Make that squirrel sore, baby. Incredible. Now, let's modify the video to put him somewhere else. Oh, the city of love. I'm so excited. I love it. But how can I make him dance? Dance, you say? The floor is yours. First, we'll need a motion reference. Now add the video along with your subject image. Perfect.

1:20:17 Wow. I think it's done. Oh, let's watch. It's amazing. The Open Art Suite does it again. But we still have an hour before the deadline. What do we do now? Let's hit the bar. We went to the photo booth, generated a bunch of images and videos, and completed my project before the deadline. I love the open art suite. I never want to leave this place. So, it did end up playing and uh yeah, seeing if we can watch it on mute again whilst it's playing beside us. Not looking like it's going to work though.

1:21:06 Not sure why that is. I agree with Mary. She said, "I love the branded colors in each scene. So sharp." It reminded me of a Was it the film Pleasantville? There's a film which is very similar to that. that type of style. I like that. I like that a lot. Yeah, like I said, it was definitely like Grand Budapest, Wes Anderson sort of style, but you know, the main character, he actually sounded like what's he called? Hey, baby. With a um uh what's that what's that movie with the the hilarious uh I forget his name. He's just gone from me. Oh god. You guys will know it though. The reference the character talking Yeah, but well done. Hey, like actually really really well done.

1:21:53 And um when we see launch videos like this, that's the sort of expected standard, you know? It's not just, oh, look what open art can do or what love art or whatever the hell it was can do. It's just, you know, how can you make it fun? How can you make it engaging? How can you make it have a story line and something that's actually watchable? It definitely went on for a bit longer than I was expecting it. You know, that whole last scene I thought could have maybe been chopp chopped out a bit. Yeah. But yeah. And was this a real ad as in like it was something that they putting out there to promote Open Up. Mike Myers. Mike Myers. Yeah. Yeah. Exactly. Mike Myers. There we go. We got a minute delay with these guys. But yeah, that was a real ad like in terms of that was the real ad for the company.

1:22:40 And whether or not they've used their in-house team to make that or they've sought someone externally, um, not exactly sure. I think they probably made it for themselves using their own tools. Yeah. Which is Yeah, it makes sense to do that, doesn't it? Makes sense. But yeah, overall, good one. I'm glad that worked in the end. Yep. Um, check out whoever asked this. Sorry that we can't see your name. Austin Powers. That's what I was looking for. Exactly. Um, we will send a link to the open art video into our WhatsApp group post this and we'll also uh be you know making more YouTube shorts and stuff and giving like proper back links and stuff. So yeah, we have now Paul in the background actually directing the show. That's why a few of the videos have been a little bit glitchy. So we're trying new ways to do this stuff to bring it to you guys and get you more exposure to who's making all of this.

1:23:32 So yeah. Um, keep your eye out for more of that. Definitely. What else have we got? Um, so we have a Pizza Hut commercial. Um, again made by the AI Candy Guys. So this is the same people that made um Oh, we didn't actually watch the orange Christmas ad yet. Yeah, I was going to say, did what about the one that wasn't working afterwards? That was the one that we were going to watch next was actually the orange Christmas ad. And I think what's gonna happen, it's gonna take us off screen like that. So don't worry. Yeah, just just boot us off, Paul, and and play the ad again. I see the crystal rains fall. And the beauty of it all

AI Candy's hybrid Orange Christmas ad

1:24:19 when the sun comes shining through. Just the two of us. We can make it if we try. Just the two of us. Just the two of us. Very well done. Yeah, well done. Very well done. So that is by the AI candy team and that is an official client work.

1:25:06 So the idea there is we watched their piece last week. Remember the energy gym one with the fat Sam Alman? Yeah. It was everywhere. I was telling Paul this in the green room before the show. I was like, they're doing a door brothers. They're putting out stuff that's attaching a load of eyeballs and then they're securing some of the biggest clients in the world and they're based in Belgium and we're going to hopefully have some of the team on in the future. I reached out to them this week to say we're going to showcase a load of their work this week and we'd love to have you on the show. There's a a trio of them in Belgium and they're now working with like Orange and Pizza Hut and all these clients in Belgium and

1:25:52 it's amazing. That looked like a real ad. Yeah. You know, other than the fact that it was a lobster, which you know, maybe wouldn't be allowed, but yeah. Daddy. A I can hear him. Yep. There's my son. All right. Cool. Just near him today. So, uh there's no mommy's I want to watch a movie. All right, excuse me, guys. Let me just put let me go and set him up with a movie, mate. Oh, that's so cute. All right, let's watch some more of these um AI candy pieces then, shall we? Yeah. So, that first one we watched there was an official Orange hybrid AI film campaign for one of Belgium's largest telecom providers. You may know them uh from the UK as well.

1:26:41 Orange Mobile, they're very very big. I think they've lesser over here now, but still very big network with a focus on human connection. Uh thanks to the cutting edge AI lobster. So yeah, adorable. Love the idea for the video. Great music. Yes, we may get some issues with that. I was thinking Paul is that's a very very big song which is going to maybe flag some copyright uh issues for our live stream later on. So, we may have to replace that one in post uh or or something like that. But yeah, incredibly well done. When does the maid run in? All right, let's uh let's watch some more stuff then.

AI Candy's Pizza Hut ads

1:27:27 Um I think this next one is Pizza Hut. Let's check it out. Pizza Hut. Welcome to a pizza. Fore they had multiple ones of them. All right, let's go. Hey, Andrew's back. Let's go. Um, so yes, mate. Uh, basically that was the same

1:28:14 agency. They made two backto-back Pizza Hut ads, it looks like. And the first one certainly looked more around a deal or something, you know, like a lot less storytelling was involved there. And it was more about, you know, just making funs to promote a specific deal, which is what we do a lot in advertising. You know, we could have a client go, "Look guys, we're going to do a Black Friday deal. All of a sudden, we need all this content." You know, oh, hey, there we go. We can watch it on mute. That's nice. So, yeah, this one had a much more cool character, didn't it? A very fun character, but it was again around a 795 promo or something like that. Both were probably briefs that we would expect to get, you know, as a normal agency working with clients like this.

1:29:03 Put the brief out there. Yeah. Essentially, I I I assume that they would have either done something before this with them to showcase what they can do or they'd have said, "Here's two things we want you to make AI videos for to see what you can do, you know, as a first way of working with them. But I I would imagine concepts first and then essentially like these were the videos that ended up running as the ideas." But um it would have been around the idea that they're doing a promo here that you go $15 kids all you can eat for $10 or something like that €10. So that would have been the thing that they want to promote and then it's like well what do you serve? You serve pizza, you serve pasta. We could have a big pasta bowl in the ocean.

1:29:50 We could do some AI visuals, make it fun, or we could go for photo realism as another angle. And I think this is the way to do it. Like floating pizza, you know, like uh things that just it it's obviously not trying to be real. Yeah, that's key. I think that's key at this stage. At this stage, I feel if we can going back to that one with the lobster and the and the orange one with the kid and like the lobster cutting his hair, the lobster doing that that you can get away with that cuz it's not real. And I think well that was the only bit that wasn't real is that there was a real footage there but the lobster was the AI part of it. Ah so it was the real kid. Yes. Perfect. As far as I understand. Yeah. Those hybrid ones I think they're going to do really really well. I do too.

1:30:37 Yeah. I think that's I could see there being a big category there. The hybrid using AI to do that and it you won't get that backlash just yet. I think eventually the backlash will go but right now this is what I will be looking at. The hybrid the hybrid areas. Yeah, I agree. I I think like special effects to make that lobster like that would have cost, you know, hundreds of thousands and AI special effects is going to fill that void in the meantime. And when we've got video in painting and stuff, that makes that a lot more, you know, actually viable. You can record real footage and just say have a lobster appear here and have it run up there. And yes, you're going to have to roll it quite a few times, but Yeah. Exactly. Yeah, it's really cool to see, isn't it?

How viral spec work wins big brand clients

1:31:23 Um, so yeah, I told those guys that we were going to be showcasing a bunch of their actual client work because last week we watched the, you know, very fun, viral, popular, everywhere video is just Yeah, it's just it's what the D brothers have done so well is they um they just uh criticize social stuff, don't they? Anything that's going on at the time that may be in the news, they have a viral funny idea for, they quickly whip it up and get it out there. That produces the tens of millions of eyeballs. That filters down to a dozen or so real conversations with high-end brands that want to do, you know, orange mobile ads and Pizza Hut ads and nothing at all like what they got found for, but that's how they got their attention.

1:32:11 And what I feel is key is it's not just a case of this is what's popular right now. Let's jump on something quickly and put something out with a couple of prompts. There's still thought in in it. There's still a story within each thing that they put out. So yes, they're clearly great storytellers and actually Hans here who is working at AI Candy is hopefully going to be coming on our show in the future. So thank you so much for tuning in Hans. I really appreciate it. Awesome work brother. Um, I looked into each one of your LinkedIn profiles earlier when I reached out to connect and it's clear that you all come from, you know, a decade of doing production and TV and stuff like this and it really really shows. It's the same with Meta Puppet last week, mate. Like, you know, 20 years he's been doing all of the elements of making movies except the

1:33:04 production part. Yeah. Yeah. He's been writing them, editing them, all of the unthankful jobs. So, he knew the piece inside out. When it came to production as well, he just couldn't execute. He knew how it worked, where it worked, when it worked. He knew all of it. He just couldn't actually do it. But now, you give him these tools and productions becomes his thing. And yeah, you're getting some love from our community hands. Go and reach out. Eric himself is a legend in the advertising space, as is Glenn, who is watching. And many others, you know, 20 plus years doing some of the biggest advertisements at some of the biggest agencies in the world. Those guys are based in New York and so they've had the New York agency experience. We've had the UK experience. You guys are crushing it in Belgium.

1:33:52 We're going to unite unite us guys. Yeah. Let's go, Yan. Hey, we've got we got nearly all of them tuning in to watch this. Let's go. I'm so glad you got here for this part of the show, guys. Thank you so much for tuning in. Like I said, we will have you on in a future episode for sure and would love to know the backstory about some of this and how you deal with client work and stuff because uniquely you guys are working with some of the top brands in the world at a small agency just like us. It's kind of fascinating, isn't it? A lot of people ask us that question as well is how exactly do you end up working with Coca-Cola and yada yada yada and it's just putting yourself out there honestly. It's true. It is true. It's you know it's putting yourself out there being seen and then you know

1:34:41 hoping that people will eventually kind of see how good you are you know and then take take that chance. I really think their rollout distribution is one of the best I've seen in the since the door brothers because it has got that like eye-catching viral shared everywhere pieces that they're making. And that's what I honestly see. Um, if I think back to my big agency experience, the one thing they never did was treat themselves like a client. You know, actually give themselves time to make things that could go big and get attention for the agency. No one ever did that. And so it's really smart that you guys are allotting, you know, however much time you are allotting to just producing this wacky crazy stuff that gets all the eyeballs and the attention because that will filter down and it's very very smart. Yeah. Look, 25 years being producer Exactly. I knew it.

1:35:30 You can tell by the standard of the work. Like anyone that argues that people that have never worked in advertising will be able to make advertising at the same level as someone of 20 plus years of advertising, it's so hard to, you know, agree with that. Honestly, yeah. Hey, looking forward to being on the show. Let's go. Bionic as well, M Martin. Let's go. Yeah. Going back to what you were saying, it's it's not a straightforward thing. You know, everyone can be a a sports coach while watching it from their couch. You know, you put you in the dugout and then it's like now manage the team. It's like a completely different thing. Like everyone's an armchair boxer, you know, it's everyone can do that. It's just having that experience, you know, is so so important. And that's what we've said earlier on in the show.

1:36:17 That's what we say on a weekly basis. The people who do the best usually have have a background in this space because they know what great looks like. But if you're new to it, try test, keep on going, keep on going. You get that experience. You get that experience. Exactly, mate. And like um we want to be encouraging to the newbies. Don't let me feel like I'm trying to put you off, guys. I want you in here. And honestly, it's where all the money is right now. Like, you know, we're giving you a bit of the inside scoop here in that these were ads that were really run on TV and stuff. You know, these that agency is working with massive brands and doing massive campaigns and that's truly possible right now. Right. Anyway, the next ad I'm being told by Paul in the chat is for Nexus Streaming.

Nexus Streaming by LTX Studio

1:37:04 It's created with LTX Studio. Remember, we talked about them a few months ago. And it's using their own tools. Now, just as a note for this one, Nexus isn't a real company, you know, it's basically Nexus, the streaming company that they've just made up for the for the purpose of this to showcase what their tools can do. But just as a little preemptive note, let's watch it. News and weather, here is the shipping forecast issued by the meteorological office at 1400 hours.

1:37:50 Delivery. Thanks. THAT GUY NEXUS, bring the extraordinary home safely.

1:38:36 I was about to say that's very, very, very good. Very good. I like it. What happened there in a short amount of time, didn't it? You know what? All I was hoping was the end bit. I was thinking, bring it home. Have a good strap line. Good takehome. And it did. Really good. Really good. Yeah, I loved everything about this one. I love the tone. I love the mood. I love the palette. I love the CGI characters, you know, the giant and the little one. And like it all looks so convincing, doesn't it? And LTX Studio. Um, no AI, I'm guessing. So, yeah, I'm guessing this is entirely AI produced. So, every single bit of it is just using AI. Yeah, need to get definite confirmation on that. But yeah, I'm pretty sure she was AI as well.

1:39:22 Yeah, look at that. I'm pretty sure. But yeah, um fascinating, isn't it? Like that you can really like this isn't one of the bigger known ones. LTX Studio wouldn't even make the top five generally, but it's the biggest in the sort of like open source space and stuff like that. So, um fascinating that open source is capable of making this. M and I thought end bit here I think for me it was like bring the extraordinary home and end safely. I thought yeah that's it just a really I also love the fact and I'm glad Paul reminded me that this was just a madeup brand. So their brief to themselves was instead of just showcasing us and whatever we're going to make up a brand and make a whole ad for this brand that doesn't

1:40:08 exist. That's a genuinely genius strategy I think to like showcase stuff and I think it's hybrid says hands. So yes, it may be that actually there was some real footage in there and that maybe the goblin creatures and the you know the giant and stuff was the AI. Yeah, exactly. That package actually did look very accurate in terms of like the um you know the text and stuff, the address. I don't know though. So Hans said he thinks it's hybrid. Yeah, he thinks it's hybrid. But isn't it crazy? We're questioning this. Like Paul actually wrote to me something in the chat before we were went and he goes I'm 99% sure this one's AI

Real footage or AI? Decoding the Nexus ad

1:40:53 and then and then he wrote a screenshot of yeah confirmed this is they've admitted this is AI. The fact that we're there now, you know, going, well, was they real footage in this or did they just do an excellent job of making the AI character? Because in the Door Brothers one, it turned out it was just an AI character, wasn't it? The woman who was throughout, we saw the character sheet from Jonathan himself. And that was the big question there was, oh, everything looks AI, but the character look real, so that's got to be real footage, right? And and the answer was no. The answer was no. That was AI footage there 100%. But I think with that one, because there so much was happening to her character, I don't think people would mind so much it was AI generated because she's getting her face burnt. She's getting bit by like

1:41:43 trolls. She's loads of different things. Oh, my son's coming in. Yeah. Okay. One second, Dylan. I'll come in a minute. I'll come in a minute. Um, yeah. So, there was so many things. I look at this and I'm just like, okay, if if this was AI, I you know, I wouldn't be I don't think people would complain. The other reason why I think it might be AI is because I think something happened to her face and she had a lot of scars. You can see it in a minute. And then when she when it when she was started getting pulled by the octopus, I think she had less scars. So, if you look here, she's got quite a lot of scars in a minute, right? And then there she doesn't have suddenly suddenly her face looks normal again. Yeah. Yeah. So that might be the reason why it's just bonkers that we're having to think, you know, was that a real woman?

1:42:34 Was that not? Was that real footage? Was it not? Like let's say that it is a real woman. Extremely good job of blending it with the AI stuff. I'd like to say, yeah, if that's what they've pulled off incredibly well. Yeah, they've done that really well. Really smart stuff. Save the best till last or some of the best till last. E, that was really, really smart stuff. Let's have a look at some other pieces then. Um, we have got some more just random pieces that we had showcased that were sort of like uh left on. Like that's all of the ads though that we had for this week. As we said, we're going to make the show into just that from now on pretty much. We'll have like the occasional music video, the occasional short film as and when something is so big or by one of our previous guests that it's unignorable

1:43:23 basically. But the main focus of the show week to week will just be on right spec ads. What's happening out there? You know, are you guys working with brands? Are these real ads? You know, and when we say real, are they commissioned? They can be AI generated, but they need to be officially licensed by the brand to be used. Otherwise, there's just a whole world of unofficial spec ads, you know, that we come across all the time where like the Olympics one, I'm sure that they've got no idea that there's a there's a black and white video with their logo being used somewhere on the internet and yet we found it and it was incredibly good. So, yeah. Uh Eric said, "Was the real was it a real client or not? Thought it was real."

1:44:09 No, Nexus is not a real brand. It's just a figment of the uh team's imagination I guess when you know because I guess what they would have said is well we can't use Netflix we can't use Amazon so let's just make our own you know like but we know that streaming platforms do this type of ad and so it would be really fun to make this ad if we made up the streaming platform. So, you know what I'm thinking is that was an excuse to make that type of ad and make it make sense. And that all tied it up together really nicely if you think about it. Yeah. Right. Um, so yeah, talking of what we've got next, um, we've got some stuff from Paul Trillo.

Paul Trillo's Aston Martin F1 launch film

1:44:54 Can you remember Paul? Yeah. One of the one of our favorite people was the cloud dancers. Remember the very early one where it was just and then we got the behind the scenes like months and months later that we showcased about how that was made. So this looks like Paul's new piece. Um what happens when you combine liveaction miniatures, 3D VFX, and generative rendering. That's basically what this one's going to showcase. So let's watch it. AI film making is a lot more than just text prompting. So when Aston Martin and Cororeweave approached us to create their launch film, they wanted something that had never been done before. An AI assisted film where every frame of the car is physically accurate and every logo is pixel perfect.

1:45:40 What made this project so unique is that it combined live action, traditional VFX, and a commercially safe AI video model. A hybrid AI production designed for maximum control and creative exploration, faster rendering, and uncompromising visual fidelity. We begin the process very traditionally with handdrawn boards enhanced with AI. We then animated the story boards in what we call a genomatic so we can find the pacing and new types of camera movements. We trained a custom Laura using our clean foundational model Mary to capture the physics, speed, and dynamics of the Aston Martin F1 vehicle. Because the car needed to be perfect, we fused together the video data with the 3D car model, ensuring accuracy down to every curve, wing, and arrow surface. We then began the visual R&D, generating thousands of images of the worlds and styles we wanted to explore.

1:46:30 We captured a tactile realistic motion by shooting miniatures, giving us raw camera movement that felt visceral and in the moment. In addition to miniatures, we also used augmented reality to block the shots. We then did a 3D motion track that became the backbone of every shot. We also built 3D environments and particle simulations to help anchor backgrounds and drive the motion. From there, we moved into key frame design, spending hours meticulously painting in every detail. We were then able to place the key frames to exact moments on the timeline. The 3D animation served as a way to connect the dots and generate the inbetweens. This gave us a new pipeline for 3D rendering. We then brought that back into comp with multiple layers and elements, motion blur, color, and grain to bring it into a cinematic

1:47:20 reality and create a visual cohesion across the shots. This is what is possible when a team of over 25 people bring together liveaction, traditional VFX, and AI into one seamless process. This is a new kind of fluid film making where infinite worlds are built and creativity has no bounds. Wow. Damn. Paul is crazy, isn't he? He's always pushing the limits of what's possible and like aligning technologies. I think that's his real strength actually is he he uh he was early on to the Gorian splat technique and all this other stuff. And obviously now through Asteria films, he's created this Mary model, which if you heard him talk about this is the most commercially safe model in

1:48:07 the world. And it's not the most powerful model in the world, but that's because it's all got licensed data in there. You know, it's all fully opted in from filmmakers. So, it's a much smaller training data set, but it can be used in these examples and and yeah, to keep the car exactly as needed is exactly what you'd expect from a client like this. You know, it can't be even a slight bit wrong. It needs it needs to be the logo is in exactly the right place. The car needs to look exactly the right specs. Like that's what they are, you know? They're a car company. So, makes sense. Exactly. It would have taken Paul to take this brief and actually be able to answer it to the fullest extent that a client like this would need because he's aligning technologies

1:48:55 that don't really exist together in order to make a specific workflow that works for this. You know, it's kind of insane really. He's always pioneering new stuff. That's that's why I think he's so unique in this space is um he just aligns the dots that others can't even comprehend yet and uh is able to take a client brief like this and truly answer it, you know. Yeah. Yeah. Without a doubt. This is Yeah. I was about to say I've not heard from him. When you mentioned his name, I was I've not heard for that name for a while. But the thing is with Yeah. He got involved in Austereia films and then they launched their own foundational models and each one of his projects is kind of like this. It's so much new that I'm imagining it takes months and months of R&D, you know, to even get something to

1:49:41 work and then you've got to go through the whole actually getting the ad once you've, you know, spent most of the budget and time actually just building the pipeline to make this feasible. So these brands are taking, you know, a step further than they would ordinarily, but it's still going to work out at a fraction of the cost, no doubt, of doing that in the traditional way. So it's very, very smart from both, you know, that they've found him and that he's able to do this ahead of what we're able to do because that's not something that's publicly available. He's just aligning technologies and making unique flows there. Truly impressive as Glenn says like like genuinely the word pioneering

1:50:27 is overused but in Paul's case I'd say he's one of the true AI pioneers you know actually making things that don't even exist yet whereas we're all just using tools that already exist pretty insane I know that Paul's got a hard stop at 5:00 and I know that you uh probably do too mate and we did have some more videos so we're just going to crack through whatever else we've got remaining basically I know that Dave had a piece of sea dance for an incredible fight scene that was going very viral everywhere. It looked like it was on a uh uh I think it was like a building falling down or something like that. If we got that one, Paul

Dave Clark's Seedance 2.0 fight scene

1:51:17 Heat. Heat. Good God. Wow. for someone I'm someone who watches a lot of films and one thing I know about action films they're always looking for what's that

1:52:10 big ether opening scene middle scene and end scene and this there is a typical thing where you would if you if like no one's done a fight scene well on a film that I've not seen where it's on a falling building and a fight scene as intricate as this but now all of a sudden you can make scenes like this happen it's exactly what I was thinking too mate I was thinking you know, you'd have to basically be in the top 1% of filmmakers to even pretend that a budget like this would be possible, right? Like, so it's an unlock for all those people that think, well, I won't even write a, you know, sequence of action in a falling building with a helicopter and a dive. I won't even bother because I know to pull that off, I'll need X, Y, and Zed.

1:52:57 But now you can go, well, what does it look like when I AI generate it? You know, and that is exactly what it could look like is that's one of my favorite Dave Dave Clark scenes. I think I I love how I called him. Yeah. Like when Rory does demos, Dave does them, too. You know, when Seance comes out and he knows that it's great at fighting and action and physics, he'll push it to a point where this is just a one minute clip, right? It's not really a bigger thing. It's not a movie he's planning to make. He's just pushing the model in the direction he knows it does extremely well. Um, but making it more interesting than just infringing on an IP. That's the thing that I think that's the best thing about this video, right? It doesn't look like a Mission Impossible or

1:53:46 whatever. It looks like its own thing, but it's still incredible. You know, you don't need Tom Cruz fighting Brad Pitt or whatever. It can just be guys fighting with masks like this and look as incredible. So, yeah, kudos for him not, you know, infringing IP to make that piece cuz yeah, it's uh so Mary said it's giving Superman General Zord. Yeah. Matrix 360 view and Transformers Michael Beethone. Definitely agree with that, Mary. All wrapped into one. Yeah, it also reminds me because on James Bond, there's always a big chase scene at the beginning or some fight scene at the beginning. That's the type of thing that will be at the beginning of a James Bond film and then he escapes on the thing and then the credits will start like

1:54:33 like the opening credits will start. That's a typical James Bond uh entry to a film. Yeah. So, I think we're only going to get time for one more, guys. I think the other piece that we had was a little bit too long. So, I think the last one we're going to finish on is by uh Rooney F. And this one is entitled Women in AI, which is something that I've definitely wanting to be promoting a lot more of. We've talked about it in previous weeks. Um, a little bit of a prologue to this one. Around about a month ago, I woke up at 2 a.m. drenched in sweat, not poetic, quite literal, and realized that since then, I started working deeply with AI in 2022, almost every day around me in this space is a man. So my feed men, the tutorials men, the visionaries men, and the default AI protagonists

Women in AI by Rony F.

1:55:25 all men. And so when when we do generate women, they often obey like beauty standards and look suspiciously like it came from models trained based on the internet scraped where porn is wildly over represented. And I would say that's actually true. you know, in terms of the early mid-journey models and stuff we got, the beauty standards were just ridiculous when it came to asking for any type of women and the and the overbeautifification of every generation. So, just a bit of a pre-log. I'll shut up and we'll watch this one. New starving for credits I never get, but I won't quit yet.

1:56:11 That rendering path instead of taking a bath is like a message from a cloud above. Oh. Pulling me out to the six finger frame that I love. No women in AI. Every day Jes. I'm just asking to be more seen. No women in AI. And someday when tech giants will rule, the world's going to shine like a jewel. Women are so cool. I know every trick. I know every take. Although women are not so good at tech, I see all the titles and

1:57:03 jobs on LinkedIn. So hire a lady before she breaks in. Before she breaks in. Oh. Oh. Oh. Give me a shot. I'm more than a bot. I can train it well. Oh. Oh. Shelves in my mind. Know best how to lead. This ad that you need. The stats tell me no. But my bank tells me go. Women have mortgages to you know. Oh. Oh. Oh, don't make me wait till you've got quotas to validate to validate. No women in AI. Every day it's the same old guy. But hold on, it's a fresh new start.

1:57:55 These new pixels are full of heart. No ini. And someday when tech giants will rule the world's going to run out of fuel. Run out of fuel. They been playing the fool. They've been playing the fool. Women are soless. We are women are so many. Women are so cool. It's just a try to understand. Yeah, I like that one. I have to thank Anita for sending that one to me. She sent me that one and uh I was like, "Yeah, definitely play this on today's show."

1:58:45 So unhinged and I love it. Yep. And uh I loved the uh the custom song, you know, in the style. Yeah. Yeah. A custom song. There was a What was that film that Ricky Lake was in back in? I think it was called Hairspray, but it reminded me of that. She just had that type of vibe. So, yeah, I like that one. No women in AI. I love it. And even the Will Smith character as well, like eating spaghetti. I like that. Yeah. So, hard stop for Paul. He's out. And uh yeah, thank you so much for running the show in the background this week, mate. You were very, very useful. Yes. And uh guys, that was hilarious, wasn't it? Yes, it's Hairspray, says Anita. Um, yes, we did change the day to Tuesday.

Tuesdays from now on, and a new show format

1:59:31 We're going to be changing the day from now on, we think. Um, probably just because it aligns better in all of our diaries, but this week specifically is because I'm at Bionic on Thursday in London. But yeah, we're thinking Tuesday from now on. If it works for you guys, try and get here for the same 3 till 5. We've got a hard kick out at 5, like I said, like we have to end the show literally at 5 in the future when Paul's here. But um yeah, it's going to be much better. I loved this too, you know, watching it on the side. So, and then talking about talking about it afterwards like so I think that's the sort of like new showcase guys is we'll watch the piece if it's under 3 minutes all the way through on its own. Then we'll have it muted to the side with a bit of commentary on it.

2:00:18 Let us know if you prefer that format. It definitely helps us for the clips and stuff like that in post-prouction. So, yeah. And it also we can read your comments on it on the video as well which exactly and if we don't feature your comments like this one uh Lara just know that it will make for better clips essentially. But yeah. Hey Callum, let's go. Thanks for tuning in man. I've got a piece of yours to show you in next week's. Uh thanks so much for sending it through. One of the best creators doing stuff on Scotland, mate. I'm not going to allude to it too much what it is, but yeah, a really cool piece. Thanks for sending it through. And you guys, if you're around on Thursday in London, let me know. With still some more uh Bionic tickets available, but they're going very, very rapidly, and it's the last publicly available ones.

2:01:06 I'm sorry you can't be there, mate. I'm gutted you're not going to be there, honestly. Yeah, usually I'm in London. Uh I can be in London at that time, but my partner, she's in London at the moment, so I'm here looking after my son, so uh yeah, usually I would be there. Yeah, you're the third person, you know. I asked Chris Dreeri and he goes, "I'm leaving London right now, mate, and I won't be going back for the next week." And I'm like, I just miss you guys in I know you go to London all the time. But yeah, and thank you so much for tuning in at 7 a.m. In San Francisco. I really appreciate it, Theresa. It means a lot to us. If it is really difficult for you guys, definitely let us know. Uh, but hopefully the rewatch will be very, very more immersive. Now, we're going to have a lot more YouTube shorts and clips.

2:01:53 Also, look out for clips going live on Creative Eyes and via my personal LinkedIn profile. Andrew posted one today. Yeah. Of Met a Puppet last week. He was amazing, wasn't he? Meta Puppets, the man. Right. Anyway, we're all out. I'll let you guys go. Thank you so much. Love the new format, says Theresa. Great. Love it. Thanks everyone. Have a good week and we'll see you next week Tuesday. Yeah. See you next week.